2011’s The Trouble with the Truth, directed by
Jim Hemphill, is a modest film about a divorced couple reuniting over dinner
following their daughter’s announcement that she is engaged. Robert (John Shea)
is a lifelong jazz musician who is still struggling through life well into
middle age. His ex-wife, Emily (Lea Thompson), lives a more financially stable
life as a recently successful writer. The couple spend the dinner simultaneously
attempting to find closure to their relationship while also exploring the
possible of reconnecting romantically.
The
film’s strength comes from the combination of casting and screenplay. Shea is
one of those actors whose face you swear you have seen in everything, but you
can’t quite place where. Here, Shea plays Robert with charisma that makes up
for his lack of appropriate social skills. He is blunt and a bit disconnected,
which probably led to the dissolution of his marriage and continues to cause friction
with his daughter. The genius of Shea’s line readings help to dull the edges of
his straightforwardness and gives Robert a warmth despite these flaws.
Thompson’s
Emily seems to be the only person in the world who gets Robert. She gives a
grounded, honest performance. It is relieving to see Thompson in a role that
isn’t simply trying to cash in on her former work or winking at the audience in
the way many actors of her age and stature are given. The chemistry between
Shea and Thompson is spectacular. They play off each other in a way that
clearly communicates that these characters have spent a significant portion of
their lives together. There is also a fun cameo from Danielle Harris as their
daughter. Harris doesn’t have a fully fleshed out of a character as the two
leads, but it is refreshing seeing her in a film that doesn’t involve blood and
gore.
The
film’s screenplay, also written by Hemphill, is delightful. The dialogue is
rich and layered without falling into the traps of being overtly self-aware in
the way so many other “talky” films are. The few references in the script,
ranging from C.S. Lewis to Mork and Mindy,
aren’t what can be considered hip. They are, however, true to the characters
ages and interests. The screenplay flows throughout and holds the audiences
interest. This is a triumph for a film with no traditional plotting, instead
serving as an intimate character study.
The
formal elements of the film are not flashy, but are appropriate to the
material. The lighting gives off a bit of a golden glow, enhancing the feeling
of nostalgia and sense of ease that are felt by the two characters. The camera
is mostly static, but due to the framing of the actors, it doesn’t feel amateurish.
A constantly moving camera in this film would only give a feeling of car
sickness. The film is entirely shot in interiors. This is probably due to
budgetary reasons, but serves as a nice parallel to the way the characters,
particular Emily, seems to be stuck in her head, unable to express herself with
anyone other than Robert.
The
film is not inherently cinematic. The story could work equally as a play or
novel. Film, however, is the primary mode of storytelling in today’s society.
People rarely go to the theatre and a book only has a chance of being
culturally important if it is written for an eighth grader. It is refreshing to
see a film that is mature and features characters of this age and intelligence front
and center. Robert laments in the film that the movies have become nothing but “Giant
robots and talking Chihuahuas”. Hopefully, Hemphill continues to make intimate
and engaging films like this one that doesn’t need millions of dollars or green
screens and gives actors such as Thompson and Shea rich parts that match their
talent.
The Trouble with the Truth is available
now on DVD as well as on Amazon Instant and ITunes.
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